DOCSLIB.ORG

Lagim-Rule-Book-Ed424may21.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Lagim™ is an original collectible card game based on Filipino folklore and myths. Inspired by the traditional beliefs and customs of our Filipino ancestors, Lagim™ aims to bolster original Filipino content and storytelling. Players are introduced to enchanting worlds and mystical characters as they traverse and unravel this thrilling game of strategy and luck. Lagim™ was created by a group of designers that share a great interest and passion for storytelling and artistry. The group seeks to create platforms using storytelling and highly detailed visuals and illustrations that encourage human connection and reinforce relationships. Fiction Minds Team 2 I. Introdu ction. II. The Ca ..4 rds...6 III. The Co ins...1 IV. The Bo 5 ard...16 V. Get ing Star ted.. VI. Playing La 18 gim. me .19 Ga Actions.....2 at le 0 B Mechanics Advance ..21 d Moves.. Bat le Scen 22 ario..24 VII.Other Ite ms..26 3 DUCTION INTRO There is unrest between the Baryos in the 17th century, as mystifying beings and savage beasts freely roam about the world, infiltrating villages, and endangering the human population. The battlefield can become a free-for-all pandemonium, but only those who rise to the occasion and take advantage of the turmoil can survive the onslaught. As souls are lost to the battle, whoever has enough cunning and luck can outlive the rest. Until the next battle, that is… Game Overview Lagim—meaning dread, terror, or gloom in Filipino— is a survival card game of strategy and chance, inspired by the Filipino folklore and myths. Lagim can be played by 3-6 players. Players take turns battling against fearsome creatures and each other while defending their Baryos. E GAM TS Harness the power PONEN of darkness COM Use cards and dark coins to conquer the creatures to attack and overwhelm your opponents. 4 Defend your Baryo Wield your cards to protect Boost the powers your Baryo. Combine them with equip cards to maximize their of your card full potential and withstand fierce battles against the most In battle, whoever has the higher formidable foes. total Entity Level prevails. Take advantage of your card’s power With both luck and wits, make and ability; strengthen them use of whatever is in your further with equip cards to attack disposal and strategize your way and strike down your opponents to victory! In the end, those that with ease. keep their souls, keep the peace. Objective The goal of Lagim is to be the last player left with most Soul coins in their possession. AME G ONENTS COMP 22 Lagim Cards 12 Soul Coins 39 Baryo (Lakas, Kontra, Hiwaga) 6 Dark Soul Coins 1 Forest and Baryo Realm Playboard 5 The Cards The Lagim Cards The fearsome monsters, creatures, and beings that terrorize the realm of the living. The word “Lagim” means “dread”, “terror”, or “gloom” in Filipino. Lagim cards are offensive cards that are used to attack players, and they cannot be used to defend. They are categorized into 4 common archetypes. Witch Ghoul Giant Dwarf Each archetype corresponds to certain Lagim equip cards also known as Hiwaga cards (see page 8 for Lagim + Hiwaga card combinations). Lagim cards can be obtained by the player by casting a Dark Soul coin, or by capturing them from the Lagim deck. 6 Lagim Card Anatomy Entity level Moon Alignment All Lagim cards are This is the unit uniquely aligned to a by which power is certain phase of the measured. Entity moon. Levels range from 1 to 5, with 5 being the highest value, and are shown in Roman A Full Moon numerals. alignment can grant special abilities to the player. Name This is the character’s name, Archetype as well as the Displays which archetype character’s name in the card belongs to. both Baybayin and Archetypes are symbols English. used to identify card pairs. Lagim cards have five archetypes: Witch, Giant, Traits Ghoul, and Dwarf. Contains information about the character, such as their Ability origin, characteristics, physical features, The card’s special ability is shown here. Card personality, and more. abilities automatically takes effect once placed on an opponent’s Baryo. Each card has a special skill that can affect the game in various ways. 7 Lagim cards Hiwaga cards ENTITY HIWAGA LAGIM ARCHETYPE CARD LEVEL (EQUIP CARDS) Mambabarang Altar ng Kulam (Hex–Bringer) (Witch’s Altar)* Mangkukulam Witch Alakdan at Alupihan (Witch/Warlock) V (Scorpion and Centipede) Sumpa ng Manika (Voodoo Doll) Aswang (Ghoul) Tiktik at Buwan (Black Crow & the Moon) Manananggal IV Ghoul (Viscera Sucker) Dugo at Langis (Blood and Oil) Kapre (Tree–Dweller) Tikbalang Giant Puno ng Acacia (Werehorse)* III (Acacia Tree) Bungisngis (Cyclops) Duwende (Hobgoblin) Bungo at Tungkod Dwarf Nuno sa Punso II (Skull and Staff) (Goblin of the Mound) 8 The Baryo Cards The Baryo cards consist of Lakas, Hiwaga, and Kontra cards. Lakas Cards Courageous heroes that serve as protectors of the realm and champions of mankind. Lakas cards are defensive cards that are used to protect the player’s Baryo from any incoming attacks, and they cannot be used to attack. They are categorized into 3 common archetypes. Medium Mortal Warrior Each archetype corresponds to certain Lakas equip cards also known as Kontra cards (see page 11 for Lakas + Kontra card combinations). The word “lakas” means “strength” in Filipino. 9 Baryo Cards Anatomy Lakas Cards Entity level Sun Alignment Archetype Lakas cards fall under the Medium, Mortal & Warrior archetypes. Kontra & Hiwaga Cards Name Traits Ability Artifact Contains information about Lagim’s various magical items, Use/ Effect tools, and objects. The card’s effects are shown here. Different cards have a vast array of effects that can impact the game. 10 Baryo Cards Lakas cards Kontra cards Anatomy ENTITY KONTRA LAKAS ARCHETYPE CARD LEVEL (EQUIP CARDS) Albularyo Buntot Pagi (Shaman) (Stingray Tail) Esperitista Orasyon at Insenso (Invoker) V Medium (Prayer and Incense) Agimat (Amulet)* Gasera (Gas Lamp)* Amihan, the Tabak, Bawang at Asin Lightbringer (Blade, Garlic and Salt) Dante, the Sibat at Sulo Woodsman III Mortal (Spear and Torch) Agimat (Amulet)* Gasera (Gas Lamp)* Kontra Cards Kontra cards are equip cards that can only be played with Lakas cards. Equipping them to their corresponding Lakas cards grants the player additional power against any Lagim / Lagim + Hiwaga card abilities during a turn (see page 12 for Kontra cards matching Archetype). “Kontra” is a word that can mean “opposed to”, “contrary”, or “against”. 11 ENTITY MATCHING CARD ARCHETYPE KONTRA CARD LEVEL Buntot Pagi Medium (Stingray Tail) II Orasyon at Insenso Medium (Prayer and Incense) II Tabak, Bawang at Asin (Blade, Garlic and Salt) II Mortal, Warrior Sibat at Sulo Warrrior (Spear and Torch) II Mortal, Agimat (Amulet)* II Medium, Mortal, Warrior Gasera (Gas Lamp)* II Medium, Mortal, Warrrior Hiwaga Cards Hiwaga cards are equip cards that can only be played with Lagim cards that fall under the same archetype. Equipping them to their corresponding Lagim cards grants the player various additional abilities to control dark entities and use them for their Baryo’s survival (see page 13 for Hiwaga cards matching Archetype). A Hiwaga card may be played during a player’s Pagtauli/ Counterattack (See Battle Mechanics on page 21). ”Hiwaga” is a Filipino word that translates to “mystery” or “wonder”. 12 ENTITY MATCHING CARD HIWAGA CARD LEVEL ARCHETYPE Altar ng Kulam (Witch’s Altar)* II Witch Alakdan at Alupihan Witch (Scorpion and Centipede) II Sumpa ng Manika Witch (Voodoo Doll) II Tiktik at Buwan Ghoul (Black Crow & the Moon) II Dugo at Langis Ghoul (Blood and Oil) II Puno ng Acacia Giant (Acacia Tree) II Bungo at Tungkod (Skull and Staff) II Dwarf 13 Standalone Cards Some equip cards are also standalone cards which can be played without pairing with Lakas or Lagim cards. Utilizing these cards grant players abilities to summon, defend or attack. CARD ABILITY MOVE Agimat Defense See cards’s USE/EFFECT Altar ng Kulam Summon to attack See cards’s USE/EFFECT Tiktik at Buwan Summon to attack See cards’s USE/EFFECT Gasera Reveal or claim to attack See cards’s USE/EFFECT This move corresponds to the Game Action: Play Card Abilities, and some eventually leads to Engage in Battle (See page 20 for expanded reference of Game Action). Special Summon Cards Some cards have summoning abilities that allows a player to claim a card from the deck without engaging in battle. This move corresponds to the Game Action: Play Card Abilities (See page 20 for expanded reference of Game Action). CARD ABILITY MOVE 2 Tikbalang Cards Can summon an Agimat Sacrifice 2 Tikbalang card from the deck. cards Full Moon Can summon a Ghoul Show 2 cards with Full Alignment card from the deck. moon alignment Amihan, the Can summon a Giant After successful defence, Lightbringer card from the deck. sacrifice any Hiwaga card from hand to the graveyard 14 The Coins Soul Coins The Soul coin serves as the player’s life points in the game. A player is eliminated once they run out of Souls. A player can obtain more Soul coins by using certain card abilities and/or by successfully defeating other players through an attack. Dark Soul Coins The Dark Soul coin can be used by a player to instantly acquire 2 Lagim cards from the Lagim deck. The Dark Soul coin is discarded to the Lagim graveyard after use. A player can obtain more Dark Soul coins from the Forest Realm by successfully eliminating a player from the game. 15 Coin Vessel The Lagim gameboard is Lagim Deck split into two realms: the Forest realm and the Baryo realm. Graveyard The spaces beside each card deck are designated as the deck’s respective graveyard – discarded cards from the Lagim deck go to the Lagim graveyard and discarded cards from the Baryo deck go to the Baryo graveyard.
Recommended publications
  • POESÍAS DEDICADAS a JOSÉ RIZAL

    POESÍAS DEDICADAS a JOSÉ RIZAL

    POESÍAS DEDICADAS a JOSÉ RIZAL REPÚBLICA DE FILIPINAS OFICINA DEL PRESIDENTE COMISION NACIONAL DEL CENTENARIO DE JOSE RIZAL OFICIALES Y FUNCIONARIOS DIOSDADO MACAPAGAL Presidente. República de Filipinas CHAIRMAN ALEJANDRO R. ROCES Secretario de Educación VICE CHAIRMEN F ernando E. V. Sisón Santiago F. de la Cruz Secretario interino de Hacienda Comendador Supremo Orden de los Caballeros de Rizal MIEMBROSIROS Decoroso Rosales Luis Montilla Chairman, Comité de Educación Chairman, Comité Histórico de Senado de Filipinas Filipinas Manuel S. E nverga E ufronio M. Alip Chairman. Comité de Educación Presidente, Sociedad Nacional Camara de Representantes Histórica de Filipinas Vicente G. Sinco J ose P. Bantug Presidente de la Universidad de Agregado Cultural a la Embajada Filipinas de la República de Filipinas en Geronima T. P ecson España (1953-1955) Chairman Comisión Nacional de la Leoncio Lopez Rizal UNESCO Miembro Fundador E rnesto R. Rodriguez J r. Consejo Nacional de Investigación Director interino del Buró de Científica Bibliotecas Públicas Vicente Orosa Benigno Aldana Ex-Secretario de Obras Públicas y Director, Buró de Escuelas Públicas Communicaciones J esus E. P erpiñan E duardo Quisumbing Director, Buró de Escuelas Privadas Director, Museo Nacional Luis Montilla Director Ejecutivo Vedasto G. Suarez Sub-Director y Secretario COMITE DE PUBLICACIONES Leoncio Lopez Rizal, Miembro Luis Montilla, Miembro J ose P. Bantug, Miembro Vicente del Carmen, Secretario Publicaciones de la COMISIÓN NACIONAL DEL CENTENARIO DE JOSÉ RIZAL ESCRITOS SOBRE JOSÉ RIZAL TOMO XIII LIBRO SEGUNDO POESÍAS DEDICADAS a JOSÉ RIZAL EDICIÓN DEL CENTENARIO MANILA COMISIÓN NACIONAL DEL CENTENARIO DE JOSÉ RIZAL 1961 POESIAS DEDICADAS A RIZAL PREFACIO En varios volúmenes de esta serie de publicaciones del centenario de Rizal hemos procurado reproducir to­ dos sus escritos que hasta el presente han sido hallados y autenticados.
  • Isabel Acuña

    Isabel Acuña

    Isabel Acuña Also Known As: Isabel de Nepomuceno, Doña Isabel Lived: January 28, 1904 - September 15, 1986 Worked as: art director, casting director, costume designer, film company treasurer, film company vice president, make-up supervisor, producer, production assistant, set decorator Worked In: The Philippines by Nadi Tofighian Isabel Acuña met José Nepomuceno, a Filipino film pioneer, while he was shooting his third film, Un Capello Marchito/The Wilted Rosebud (1920), in Manila in 1920. She was sixteen years old, and her younger sister, Luisa Acuña, was starring in the film. Nepomuceno founded Malayan Movies together with his brother, Jesús, in Manila in 1917, after previously having run a successful photography studio there. Two years later they made the earliest known fiction film directed by a Filipino, Dalagang Bukid/Country Maiden (1919) (Tofighian 2008, 78). Acuña and Nepomuceno married on June 6, 1920 at the Quiapo Church in Manila, a few months after their first meeting. From that time forward, Acuña was involved in the filmmaking process of Malayan Movies. Initially, she primarily worked on scouting talent, costume design, and make-up. She was instrumental in making costume design and make-up an important part of the mise-en- scene of the film, and she is reported to have spent hours on the streets, in bazaars, and in movie houses researching and getting ideas about set designs and costumes (Quirino 1983, 23). Acuña insisted on using simple words in the dialogue and intertitles in order for everyone to understand, and functioned as an informal censor at Malayan Movies as she required no dirty language or inappropriate scenes.
  • Ioften Ask My Students at the Beginning of My Writing

    Ioften Ask My Students at the Beginning of My Writing

    WHERE HAVE ALL OUR MONSTERS GONE?: Using Philippine Lower Mythology in Children’s Literature Carla M. Pacis often ask my students at the beginning of my Writing for Children class who their favorite storybook characters were when Ithey were kids. The answers are usually the same and very predictable – Snow White, Sleeping Beauty, Peter Pan et. al. semester upon semester. One day, however, a student from Mindanao said that her favorite characters were the creatures her mother had told her about. These creatures, she said, lived in the forests and mountains that surrounded their town. The whole class and I perked up. What were these creatures, we all wanted to know? She told us of the wak-wak that came out at night to suck the fetus from pregnant sleeping mothers or the tianak that took the form of a cute little baby but was really an ugly dwarf. Ahh, we all nodded, we had also heard of these and many other creatures. Thus ensued an entire session of remembering and recounting of fascinating creatures long forgotten and all our very own. In his book The Uses of Enchantment, Bruno Bettelheim explains the importance of monsters in fairytales and stories. He says that “the monster the child knows best and is most concerned with is the monster he feels or fears himself to be, and which also sometimes, persecutes him. By keeping this monster within the child unspoken of, hidden in his unconscious, adults prevent the child from spinning fantasies around it in the image of the fairytales he knows.
  • Philippine Folklore: Engkanto Beliefs

    Philippine Folklore: Engkanto Beliefs

    PHILIPPINE FOLKLORE: ENGKANTO BELIEFS HISTORICAL BACKGROUND: Philippine mythology is derived from Philippine folk literature, which is the traditional oral literature of the Filipino people. This refers to a wide range of material due to the ethnic mix of the Philippines. Each unique ethnic group has its own stories and myths to tell. While the oral and thus changeable aspect of folk literature is an important defining characteristic, much of this oral tradition had been written into a print format. University of the Philippines professor, Damiana Eugenio, classified Philippines Folk Literature into three major groups: folk narratives, folk speech, and folk songs. Folk narratives can either be in prose: the myth, the alamat (legend), and the kuwentong bayan (folktale), or in verse, as in the case of the folk epic. Folk speech includes the bugtong (riddle) and the salawikain (proverbs). Folk songs that can be sub-classified into those that tell a story (folk ballads) are a relative rarity in Philippine folk literature.1[1] Before the coming of Christianity, the people of these lands had some kind of religion. For no people however primitive is ever devoid of religion. This religion might have been animism. Like any other religion, this one was a complex of religious phenomena. It consisted of myths, legends, rituals and sacrifices, beliefs in the high gods as well as low; noble concepts and practices as well as degenerate ones; worship and adoration as well as magic and control. But these religious phenomena supplied the early peoples of this land what religion has always meant to supply: satisfaction of their existential needs.
  • The Truth of Diwa

    The Truth of Diwa

    The Truth of Diwa Diwa is both the building block and the string upon which all of reality is spun. It permeates all things, and exists in varying states of matter. In a manner of speaking, that chair you see in front of you is Diwa, in a given form. Break it down to its most essential components and you shall see Diwa. However Diwa can be used more than that. It exists in four states: • Agos, Diwa echoing Water. This is the normal state of Diwa, the Diwa that makes up all things. • Tagos, Diwa echoing Air. This is the Diwa that binds things together. It can be manipulated at this level, and if one were to have some means of seeing the invisible machinations of the gods, they will see tiny strands that link everything to everything, as well as the Diwata that embody everything. Diwa in this state can be known as “Fate”, and indeed, the Agents of Heaven call this Tadhana. • Bala, Diwa echoing Fire. This is the Diwa that burns within every living being, and every thing is a living being because everything has a diwata. The Human Eight-Point Soul is made up of this Burning Diwa, and so are the powerful essences of the Karanduun. Burning Diwa can be used to affect other states -- most commonly by having a lot of Burning Diwa, you have more say in how reality works. Thus why Burning Diwa in all beings is known as “Bala”, or “Power”. It is their measure of capability, and it is well known that the Karanduun possess “Unlocked” Bala, which allows their Bala to transcend event that of Gods.
  • SARE, Vol. 58, Issue 1 | 2021

    SARE, Vol. 58, Issue 1 | 2021

    SARE, Vol. 58, Issue 1 | 2021 Making Space for Myth: Worldbuilding and Interconnected Narratives in Mythspace Francis Paolo Quina University of the Philippines-Diliman, Quezon City, the Philippines Abstract The comics medium has long proven to be fertile ground for worldbuilding, spawning not only imaginary worlds but multiverses that have become international transmedial franchises. In the Philippines, komiks (as it is called locally) has provided the Filipino popular imagination with worlds populated by superheroes, super spies, supernatural detectives, and creatures from different Philippine mythologies. The komiks series Mythspace, written by Paolo Chikiamco and illustrated by several artist-collaborators, takes the latter concept, and launches it into outer space. Classified by its own writer as a “Filipino space opera” consisting of six loosely interconnected stories, Mythspace presents a storyworld where the creatures of Philippine lower mythologies are based on various alien species that visited the Philippines long ago. The article will examine the use of interconnected narratives as a strategy for worldbuilding in Mythspace. Drawing from both subcreation and comic studies, this article posits that interconnected narratives is a worldbuilding technique particularly well-suited to comics, and that the collaborative nature of the medium allows for a diversity of genres and visual styles that can be used by future komiks creators to develop more expansive storyworlds. Keywords: comics studies, subcreation studies, storyworlds, Mythspace, the Philippines The comics medium has long proven to be fertile ground for worldbuilding. It has spawned not only storyworlds in the pages of comic books and graphic novels but given birth to multiverses of storytelling across several media.
  • The Heroic Archetypes and the Reinvention of Aswang Character in Segundo Matias’ Moymoy Lulumboy Ang Batang Aswang

    The Heroic Archetypes and the Reinvention of Aswang Character in Segundo Matias’ Moymoy Lulumboy Ang Batang Aswang

    THE HEROIC ARCHETYPES AND THE REINVENTION OF ASWANG CHARACTER IN SEGUNDO MATIAS’ MOYMOY LULUMBOY ANG BATANG ASWANG Mary Ann Alcantara Illana* School of Humanities, Ateneo de Manila University, Katipunan Avenue, Loyola Heights, Quezon City, Philippines ARTICLE INFO ABSTRACT Keywords: Marginalized and queer heroes are being recognized in the resurgence of Aswang lore various types of characters in contemporary hero narratives. In challenging Aswang reinscription the normative conventions, there are heroic values in the ambiguous Heroic archetype presentation of their character which are revived and valorized based on the Urban legend heroic archetypes presented in the story. Given this, how do we reconcile the normative conventions of hero attributed to queer and deviant representation of his character and heroic deeds? This paper analyzes the contemporary work of Segundo Matias' Moymoy Lulumboy: Ang Batang Aswang. Article History: Patterned from Joseph Campbell's normative structure of hero's journey, Received: 25/09/2020 which models the representation of various nature of character heroes and Accepted: 20/05/2021 their established heroic archetypes, this study revealed that a category of Available Online: heroic deviant exists in portraying character hero in the revival of Aswang 31/05/2021 lore in contemporary urban legend. Furthermore, this paper affirms that the resurrection of the archetypal pattern and the marginal presentation of the hero and his journey present a re-inscripted image of Aswang from a "rigidly static" to a semi-heroic ascension. 2442-305X / © 2021 The Author, this is open access article under the (CC-BY-NC) license (https://creativecommons.org/licenses/by-nc/4.0/), DOI: 10.19105/ojbs.v15i1.3828 * Corresponding Author: Email address: [email protected] (M.
  • Notes on Philippine Divinities

    Notes on Philippine Divinities

    NOTES ON PHILIPPINE DIVINITIES F. LANDA JocANO Introduction THIS PAPER IS ETHNO-HISTORICAL IN NATURE. IT IS DE- signed to put together representative pantheons of different Philippine divinities. The materials for this purpose have been gathered from historical documents, ethnographiC monographs, and Held observations conducted by the writer and other fieldworkers among different indi- genous religious groups in the various parts of the country. No sociological analysis of these cosmologies or their manifest theo- logies is made except to point out that their persistence through time - from the early Spanish contact to the present - indicates they are closely interwoven with the lifeways of the people. The divinities described here are, as they were in the past, conceived as beings with human characteristics. Some of them are good and others are evil. Many stories about the workings of these supernatural beings are told. They participate in the affairs of men. These relationships reinforce local beliefs in the power of the supernatural beings, as those people who participate in community affairs witness how these deities, invoked during complicated rituals, cure an ailing patient or bring about suc- cess in hunting, fishing, and agriculture. Some of these deities are always near; others are inhabitants of far-off realms of the skyworld who take interest in human affairs only when they are invoked during proper ceremonies which compel them to come down to earth. In this connection, the spirits who are always near, are the ones often called upon by the people for help. These supernatural beings are led by the highest ranking deity and not by any one supreme divinity, for each has specific and some independent function.
  • Huling Bakunawa Allan N

    Huling Bakunawa Allan N

    Huling Bakunawa Allan N. Derain Hindi batid ng mga katutubo kung anong uri ng isda iyon yamang hindi pa sila nakakikita nang gayon sa kanilang mga baybayin.Kung kaya itinuring na lamang nila ito bilang isang dambuhala na itinalaga ng Diyos sa malawak na Karagatan ng Silangan dahil sa angkin nitong laki. — Fray Ignacio Francisco Alcina Historia de las islas e indios de Bisayas 1668 ang sundan ni datu rabat ang tutok ng hintuturò ng kaniyang panauhin, nagtapos ito sa may bumubulwak na bahagi ng dagat kung saan mapapansin ang mabagal na galaw ng higanteng isda. Ang bakunawa kung tawagin ng mga mangingisda sa gawing ito ng dagat. Ang bunga ng kanilang tatlong araw at tatlong gabing pag-aabang at pagmamatyag kasama ang Tsinong mangangalakal. N Nakatayo si Datu Rabat sa unahan ng kaniyang sinasakyang adyong habang nakamasid sa Tsinong sakay naman ng sariling sampan. Nag-aalala ang datu sa mga piratang maaaring sumalisi sa kaniya. Kaya kailangan niyang bantayan ang mangangalakal na Tsino habang naririto ito sa kaniyang sakop. Kaya siya nagtayo ng bantayog na magbabantay sa kaniyang pantalan. Kaya rin siya umupa ng mga mersenaryong tatambang sa mga pirata. Sa kakayahan niyang magbigay proteksiyon sa mga panauhing mangangalakal nakasalalay 4 likhaan 5 ˙ short story / maikling kuwento ang mabuting pakikitungo sa kaniya ng mga tagasentro. Hindi siya dapat mabigo kahit minsan lalo’t buhat sa Emperador na Anak ng Langit ang kaniyang pinangangalagaang panauhin. Pero dahil parang mga dikya ang mga tulisang dagat na ito na hindi na yata mauubos hangga’t may tubig ang dagat, pinirata na rin niya ang karamihan sa mga pirata para sa ibang sakop na lamang gawin ang kanilang pandarambong.
  • Instructions

    Instructions

    MY DETAILS My Name: Jong B. Mobile No.: 0917-5877-393 Movie Library Count: 8,600 Titles / Movies Total Capacity : 36 TB Updated as of: December 30, 2014 Email Add.: jongb61yahoo.com Website: www.jongb11.weebly.com Sulit Acct.: www.jongb11.olx.ph Location Add.: Bago Bantay, QC. (Near SM North, LRT Roosevelt/Munoz Station & Congressional Drive Capacity & Loadable/Free Space Table Drive Capacity Loadable Space Est. No. of Movies/Titles 320 Gig 298 Gig 35+ Movies 500 Gig 462 Gig 70+ Movies 1 TB 931 Gig 120+ Movies 1.5 TB 1,396 Gig 210+ Movies 2 TB 1,860 Gig 300+ Movies 3 TB 2,740 Gig 410+ Movies 4 TB 3,640 Gig 510+ Movies Note: 1. 1st Come 1st Serve Policy 2. Number of Movies/Titles may vary depends on your selections 3. SD = Standard definition Instructions: 1. Please observe the Drive Capacity & Loadable/Free Space Table above 2. Mark your preferred titles with letter "X" only on the first column 3. Please do not make any modification on the list. 3. If you're done with your selections please email to [email protected] together with the confirmaton of your order. 4. Pls. refer to my location map under Contact Us of my website YOUR MOVIE SELECTIONS SUMMARY Categories No. of titles/items Total File Size Selected (In Gig.) Movies (2013 & Older) 0 0 2014 0 0 3D 0 0 Animations 0 0 Cartoon 0 0 TV Series 0 0 Korean Drama 0 0 Documentaries 0 0 Concerts 0 0 Entertainment 0 0 Music Video 0 0 HD Music 0 0 Sports 0 0 Adult 0 0 Tagalog 0 0 Must not be over than OVERALL TOTAL 0 0 the Loadable Space Other details: 1.
  • Among the Aetas of Nabuclod, Pampanga, Philippines

    Among the Aetas of Nabuclod, Pampanga, Philippines

    41 The Health Ritual of “Pag-aanito” among the Aetas of Nabuclod, RUDOLF CYMORR KIRBY P. Pampanga, Philippines MARTINEZ, PhD, MA, RN San Beda University, Abstract Manila, Philippines A defining characteristic of an indigenous group is that it has preserved its unique traditional ways of living, belief system or https://orcid.org/ 0000-0002- pertinent rituals amidst the presence of modernity. One of the 5323-5108 indigenous group residing in the Philippines are the Aeta people, found scattered in the archipelago. One of the unique cultural health beliefs of this indigenous group revolves around the spirit called "anito" and the ritual for appeasing this spirit termed as "pag-aanito." This paper explores the contemporary understanding of a select group of Aeta from Pampanga, Philippines on these unique cultural health beliefs and how their understanding and appreciation of their traditional customs affects their perception of the world, themselves, and their health. Keywords: Focused ethnography, health knowledge, indigenous medicine Context of the Study defining characteristic of an indigenous group is that it has preserved its unique traditional ways of living, belief system or pertinent rituals amidst the presence of A modernity. One of the indigenous group residing in the Philippines are the Aeta people, found scattered in the archipelago and is often described as its earliest inhabitants. Aetas are pygmy people, nomadic in nature and are traditionally animist (Balila et al., 2014; Shimzu, 1989, Waddington, 2002). One of the unique beliefs of the Aeta people is the anito, a benevolent, environmental spirit believed to inhabit the river, sea, hills and Corresponding author’s email: [email protected] 42 various other places.
  • Mythological Woman and the Prose Poem in Barbara Jane Reyes’S Diwata

    Mythological Woman and the Prose Poem in Barbara Jane Reyes’S Diwata

    วารสารรามคา แหง ฉบับมนุษยศาสตร์ ปีท ี่ 37 ฉบับที่ 1 193 Book Review: Mythological Woman and the Prose Poem in Barbara Jane Reyes’s Diwata Mariejoy San Buenaventura1 Barbara Jane Reyes, a Filipino- analysts. Diwata is the Filipino term for American poet, had her collection Diwata goddess, fairy, and nature spirit, and the published in 2010 by the New York-based word is derived from devata, the Hindi word BOA Editions Ltd. as part of their American - most likely originally Sanskrit - for deity Poets Continuum series. Despite the slimness (‚Devata,‛ n.d.). Reyes employs all these of the volume – the epigraph, poems, and aspects of Diwata – goddess, fairy, and notes occupy sixty-seven A5-sized pages – it nature spirit – to portray Diwata as the contains an abundance of the worthwhile for universal, primordial, mythological Woman comparative mythologists and literary found in all mythologies, and as the 1Humanities and Languages Division, Mahidol University International College E-mail: [email protected], [email protected] Ramkhamhaeng University Journal Humanities Edition Vol. 37 No. 1 194 representative very human Woman who, Diwata is also the dryad who takes as mate a through the unfolding of the ages, continues mortal man (Reyes, 2010, p. 20). Then as the to experience the same longings and sufferings. weaver who ‚weaves words into the fabric This is of much interest to the student of of the sky‛ (Reyes, 2010, p. 14), Diwata is a myth. For the student of poetry, Reyes’s uses version of Arachne, she who competed with of the prose poem, chant-like forms, and Athena in a weaving contest (Ovid, 2009, pp.